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PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is an author's version which may differ from the publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/17184 Please be advised that this information was generated on 2021-09-30 and may be subject to change. Europa Romana. Volume dedicated to Professor Ioan Piso on his 60th Birthday THE CONSTRAINTS OF TRADITION DEPICTIONS OF HERCULES IN AUGUSTUS’ REIGN* By OLIVIER HEKSTER In the years immediately surrounding 27 BC, in Rome’s Campus Martius, the porticus Metelli and immediate surroundings were transformed into the porticus Octaviae.1 Though the new complex was named after Octavia, her brother paid for it.2 The decoration of the new porticus included a series of paintings on which the figure of Hercules was prominently present. The paintings included two of the best works of Artemon, one depicting the betrayal of Laomedon, the other ‘Heracles ascending to the sky with the consent of the gods’.3 A famous picture of Hesione by Antiphilos completed the series of Hercules-related paintings. Of that same artist, a painting was shown which depicted Alexander the Great, his father Phillip and Athena.4 At first sight, this all seems rather unsurprising. Naming a building after his sister fitted perfectly well within the Augustan building programme, in which members of the imperial family were regularly invoked. Artistically important decorations formed integral part of such new monuments. The incorporation of Herculean imagery in a building to Octavia might, however, have been noticeable. -
Front Matter
Cambridge University Press 978-1-107-02320-8 - Campus Martius: The Field of Mars in the Life of Ancient Rome Paul W. Jacobs II and Diane Atnally Conlin Frontmatter More information CAMPUS MARTIUS A mosquito-infested and swampy plain lying north of the city walls, Rome’s Campus Martius, or Field of Mars, was used for much of the Roman Republic as a military training ground and as a site for celebratory rituals and the occasional political assembly. Initially punctuated with temples vowed by victorious generals, during the imperial era it became filled with extraordinary baths, theaters, porticoes, aqueducts, and other structures – many of which were architectural firsts for the capital. This book explores the myriad factors that contributed to the transformation of the Campus Martius from an occasionally visited space to a crowded center of daily activity. It presents a case study of the repurposing of urban landscape in the Roman world and explores how existing topographical features that fit well with the republic’s needs ultimately attracted architecture that forever transformed those features but still resonated with the area’s original military and ceremonial traditions. Paul W. Jacobs II is an independent scholar who focuses on ancient Rome and its topographical development. A graduate of Harvard College and the University of Virginia Law School, and a litigator by training, Jacobs has practiced and published in the area of voting rights, where knowledge of demographics, mapmaking, and geography is essential. He has spent extensive time in Rome and has studied the ancient city and its development for decades. Diane Atnally Conlin is Associate Professor of Classics at the University of Colorado, Boulder. -
Roman Art Kindle
ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 11-09-2006 I, Mark Andrew Atwood, hereby submit this work as part of the requirements for the degree of: Master of Arts in: The Department of Classics It is entitled: Trajan’s Column: The Construction of Trajan’s Sepulcher in Urbe This work and its defense approved by: Chair: Peter van Minnen William Johnson Trajan’s Column: The Construction of Trajan’s Sepulcher in Urbe A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the Requirements for the degree of MASTER OF ARTS in the Department of Classics of the College of Arts and Sciences 2006 By MARK ANDREW ATWOOD B.A., University of Minnesota, Minneapolis, MN 2004 Committee Chair: Dr. Peter van Minnen Abstract Eutropius (8.5.2) and Dio (69.2.3) record that after Trajan’s death in A.D. 117, his cremated remains were deposited in the pedestal of his column, a fact supported by archeological evidence. The Column of Trajan was located in urbe. Burial in urbe was prohibited except in certain circumstances. Therefore, scholars will not accept the notion that Trajan overtly built his column as his sepulcher. Contrary to this opinion, I argue that Trajan did in fact build his column to serve as his sepulcher. Chapter 1 examines the extensive scholarship on Trajan’s Column. Chapter 2 provides a critical discussion of the relevant Roman laws prohibiting urban burial. Chapter 3 discusses the ritual of burial in urbe as it relates to Trajan. Chapter 4 identifies the architectural precedent for Trajan’s Column and precedent for imperial burials in urbe. -
Karolina Michałowska a Digital Reconstruction of Roman Terracotta Reliefs : Recreating the Ancient Technique
Karolina Michałowska A Digital Reconstruction of Roman Terracotta Reliefs : Recreating the Ancient Technique Światowit : rocznik poświęcony archeologii przeddziejowej i badaniom pierwotnej kultury polskiej i słowiańskiej 12 (53)/A, 39-52 2014 ŚWIAToWIT • XII (LIII) /A • 201 4 KARoLINA MIChAłoWSKA A D iGiTAL REConSTRuCTion oF RoMAn TERRACoTTA RELiEFS – R ECREATinG ThE AnCiEnT TEChniquE Keywords : Campana relief, digital reconstruction, poly - homogeneous, even, and naturally white marble chromy, sculpture, terracotta offers a surface that is not absorbent, does not undergo discoloration, and shimmers with inner lustre. Such a sur - face can be covered with a thin, translucent layer of paint or tinted wax and its texture can be quite easily manipulated. 1 The main purpose of this article is to present alter - This is in fact the very definition of a perfect painting native methods of digital reconstruction of the polychromy medium, especially for the tempera paint, which in case of of Ancient sculpture, based upon practical experience with any other material requires a carefully prepared ground materials and series of experiments designed to determine layer. physical properties of paints, grounds and binders. It Considering that the final painting effect depends focuses mainly on the Roman art of the Imperial Period greatly on the material used, the choice of a stone is not and compares different properties of marble and terracotta accidental. 2 The shade of marble influences the appearance sculpture and different applications of the same painting of a sculpture, even if it was entirely covered with paint techniques. The reconstructions of Roman terracotta – pigments can have their full visual impact only on a pale, reliefs presented below were based upon analyses of objects homogenous surface, and the warm or cold undertone of from the collection of the National Museum in Warsaw the marble affects the chromatic range of paint layers. -
Und Theseus-Darstellungen Auf Campana-Reliefs
Nathalie Möller-Titel Herakles- und Theseus-Darstellungen auf Campana-Reliefs Nathalie Möller-Titel Herakles- und Theseus- Darstellungen auf Campana-Reliefs Untersuchungen zur Adaption und Tradierung zweier griechischer Helden in römischer Zeit Zugl.: Dissertation, Universität Hamburg, 2017 u. d. T. Herakles- und Theseusdarstellungen auf Campana-Reliefs BIBLIOGRAFISCHE INFORMATION DER DEUTSCHEN NATIONALBIBLIOTHEK Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über https://portal.dnb.de abrufbar. ONLINE-AUSGABE Die Online-Ausgabe dieses Werkes ist eine Open-Access-Publikation und ist auf den Verlagswebseiten frei verfügbar. Die Deutsche Nationalbibliothek hat die Online-Ausgabe archiviert. Diese ist dauerhaft auf dem Archivserver der Deutschen Nationalbibliothek (https://portal.dnb.de/) verfügbar. DOI https://dx.doi.org/10.15460/HUP.HHD.004.197 PRINTAUSGABE ISBN 978-3-943423-70-9 LIZENZ Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Das Werk steht unter der Creative-Commons-Lizenz Namensnennung 4.0 International (CC BY 4.0, https://creativecommons.org/licenses/by/4.0/legalcode.de). Ausgenommen von der oben genannten Lizenz sind Teile, Abbildungen und sonstiges Drittmaterial, wenn anders gekennzeichnet. GESTALTUNG Merle Papenfuß SCHRIFT Gentium / Source Sans Pro DRUCK UND BINDUNG Books on Demand, Norderstedt VERLAG Hamburg University Press, Verlag der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, -
Copyrighted Material
INDEX Achilles (subject) 42–43, 140, 156, 161, 170, 291; Arches Basilica 81 Figs. 2.23, 6.26, 10.19 Arc de Triomphe, Paris 359–360; Aemilia 135–136; Fig. 5.22 acroterion 33, 37, 39; Fig. 2.14 Fig. 12.26 Constantine, Trier 338–339; Figs. 12.4–12.5 Actaeon (subject) 176, 241; Figs. 6.33, 8.34 Arcus Novus, Rome 311 Nova, Rome 340; Figs. 12.6–12.7 Adamclisi, Tropaeum Traiani 229–230; of Argentarii, Rome 287; Figs. 10.14, 10.15 Pompeii 81–83; Figs. 4.5, 4.6 Figs. 8.20–8.21 of Constantine, Rome 341–346; Severan, Lepcis Magna 296, 299; adlocutio 116, 232, 256; Figs. 5.2, 8.24, 9.13 Figs. 12.8–12.11 Figs. 10.26–10.27 adventus 63, 203, 228, 256, 313, 350; of Galerius, Thessalonica 314–315; Ulpia, Rome 216; Fig. 8.5 Figs. 7.25, 8.23 Figs. 11.15–11.16 Baths aedicular niche 133; Fig. 5.20 of Marcus Aurelius, Rome 256; Fig. 9.13 of Agrippa, Rome 118, 185, 279 aedile 12 of Septimius Severus, Lepcis of Caracalla, Rome 279–283; Aemilius Paullus 16, 65, 126 Magna 298–299; Figs. 10.28, 10.29 Figs. 10.7–10.10 Victory Monument 16, 107–108; of Septimius Severus, Rome 284–286; of Cart Drivers, Ostia 242–244; Fig. 8.37 Figs. 4.30, 4.31 Figs. 10.11–10.13 of Diocletian, Rome 320–322; Aeneas 27, 121, 122, 126, 127, 135, 140, 156, of Titus, Rome 201–203; Figs. 7.22–7.24 Figs. -
Gedanken Zu Obelisk Und Pulvinar in Darstellungen Des Circus Maximus in Rom
Originalveröffentlichung in: H.-J. Drexhage (Hrsg.), Migratio et Commutatio. Studien zur Alten Geschichte und deren Nachleben. Thomas Pekäryzum 60. Geburtstag, St. Katharinen 1989, S. 265-279 Gedanken zu Obelisk und Pulvinar in Darstellungen des Circus Maximus in Rom Zwei Obelisken ließ Augustus 11/10 v. Chr. nach Rom bringen und mit einander entsprechen der Weihinschrift für Sol an der Basis aufstellen. Vom einen, der als Gnomon der Sonnenuhr des Augustus auf dem Marsfeld diente, ist aus der Antike offenbar nur eine Abbildung überlie 1 fen, am Sockel der Säule des Antoninus Pius . Der zweite der beiden, der im Circus Maximus aufgestellt wurde, ist dagegen in der Kaiserzeit öfter dargestellt, allerdings weniger des Obe 2 lisken selbst als der Zirkusrennen und Spiele wegen, die um ihn herum stattfanden . Die Reihe dieser Zirkusbilder setzt etwa mit der Zeit des Augustus ein. Das hat - auch ganz abgesehen von dem Aufschwung der Bildkunst Roms in dieser Zeit - seine guten Gründe. Denn eine ganze An zahl von Einzelmonumenten, die man auf diesen Zirkusbildern sieht, wurde erst zur Zeit des Augustus in dem von Caesar ganz neugebauten und von Augustus schon renovierten Circus Maximus errichtet, so neben dem Obelisken etwa zwei prunkvolle Zählapparaturen für die Runden, die sogenannten Eier und Delphine. Das einzige Monument, das Augustus trotz seiner umfangreichen Instandsetzungsarbeiten am Circus Maximus für sich selbst in seinen Res 3 Gestae in Anspruch nahm, das Pulvinar , wurde sonderbarerweise kaum jemals abgebildet. Allerdings wurde der Circus Maximus in den meisten Fällen - wenn nicht Uberhaupt nur Teile wie der Mittelstreifen mit seinen Monumenten zu sehen waren - in Blickrichtung vom Palatin aus abgebildet, so daß man gewöhnlich den in die Sitzreihen gegenüber auf dem Aventin ein gebauten Sol-Tempel sah, aber auch diesen erst seit Trajans Zeit. -
The Campus Martius
For I shall sing of Battels, Blood and Rage, Which Princes and their People did engage, And haughty Souls, that mov’d with mutual Hate, In fighting Fields pursued and found their Fate – Virgil, The Aeneid, 19 BC. Book VII, verse 40. Translated by John Dryden (1697). The empire was forged on the Field of Mars, where Roman soldiers drilled and armies assembled under the auspices of the god of war. Here, outside the pomerium, men could bear weapons, the Senate could meet generals in arms and foreign envoys, foreign gods could be worshipped. With the advent of the Pax Romana, the Campus Martius was singularly marked by two friends, Agrippa, the great general, and Octavian, the first emperor, who built monuments there to celebrate not war but peace. By the end of the first century AD, the central Campus Martius was filled to bursting with public buildings, houses, baths, theatres, temples, and monuments. Five centuries later, when mighty Rome was a thing of the past and the aqueducts were cut or in disrepair, people concentrated in this area close to the Tiber, their only water supply, making their houses, shops, and churches in the magnificent remains. Those ancient walls form the modern fabric of this part of Rome, which then like today, was busy, noisy, crowded, confusing, and fascinating. 1 Below: The Roman Army on the march. Soldiers and standard-bearers (wearing animal heads, the emblems of their cohort) on the Column of Marcus Aurelius. Before the 1st century AD, this floodplain was a sort of commons belonging to everyone, used for pasture, as drilling grounds, and for assembling armies. -
The Bronze Athlete from Ephesos
Technè La science au service de l’histoire de l’art et de la préservation des biens culturels 45 | 2017 Bronzes grecs et romains : études récentes sur la statuaire antique The Bronze Athlete from Ephesos: Archaeological Background and Aspects of Conservation L’athlète en bronze d’Éphèse, contexte archéologique et éléments de restauration Georg A. Plattner Electronic version URL: http://journals.openedition.org/techne/1255 DOI: 10.4000/techne.1255 ISSN: 2534-5168 Publisher C2RMF Printed version Date of publication: 1 May 2017 Number of pages: 34-45 ISBN: 978-2-7118-6408-9 ISSN: 1254-7867 Electronic reference Georg A. Plattner, « The Bronze Athlete from Ephesos: Archaeological Background and Aspects of Conservation », Technè [Online], 45 | 2017, Online since 19 December 2019, connection on 10 December 2020. URL : http://journals.openedition.org/techne/1255 ; DOI : https://doi.org/10.4000/ techne.1255 La revue Technè. La science au service de l’histoire de l’art et de la préservation des biens culturels est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Bronzes grecs et romains : études récentes sur la statuaire antique TECHNÈ n° 45, 2017 34 Fig. 1. Ephesian Athlete, bronze, H. 192 cm, second half of 1st cent. A.D., Kunsthistorisches Museum Vienna, Collection of Greek and Roman Antiquities, inv. no. VI 3168. © Kunsthistorisches Museum Vienna. Techne_n45_2.indd 34 23/11/2017 11:56 TECHNÈ n° 45, 2017 Bronzes grecs et romains : études récentes sur la statuaire antique Georg A. Plattner The Bronze Athlete from Ephesos: Archaeological Background and Aspects of Conservation L’athlète en bronze d’Éphèse, contexte archéologique et éléments de restauration Abstract. -
Cahn's Quarterly 3/2020
Cahn’s Quarterly 3/2020 English Edition Editorial Dear readers Over half a year has passed since the pandem- ic swept over us in the spring of 2020, bring- ing with it far-reaching consequences for our lives, both private and professional. Much that at first seemed utterly alien or inconceivable has since become normal, and the art market, too, has proved astonishingly adaptable. At the time of writing, art dealers are still largely prevented from using the channels through which they customarily operate. Many fairs and exhibitions have been cancelled or post- poned, and those that are taking place again have had to make numerous adjustments to guarantee the health and safety of both visi- tors and exhibitors alike. Packing for the Highlights International Art Fair Munich, October 2020. But it is not all bad. On the contrary, I think we can learn a lot of positive lessons from am deeply grateful. The videos even prompt- City project (artcity.online/visit-artcity#reg- this crisis. The slower pace of life that has ed some sales, and by no means just minor ister-form) as well as boosting our online been forced upon us is actually beneficial ones, despite the impossibility of inspecting presence at TEFAF (tefaf.com/visitors/sign_ in that we now have the time to look criti- the originals prior to purchase. I would there- up). cally at old habits. The carrousel of art fairs, fore like to take this opportunity to thank you for example, was turning too fast. There are for the trust placed in me. -
A Fountain for Memory
1 A FOUNTAIN FOR MEMORY: The Trevi Flow of Power and Transcultural Performance Pam Krist, PhD Thesis School of Modern Languages, Literature and Culture Royal Holloway, University of London 2015 2 3 Abstract In memory studies much research on monuments focuses on those with traumatic or controversial associations whilst others can be overlooked. The thesis explores this gap and seeks to supplement the critical understanding of a populist monument as a nexus for cultural remembering. The Trevi Fountain in Rome is chosen because it is a conduit for the flow of multivalent imagery, ideological manipulation, and ever-evolving performances of memory, from design plans to mediated representations. The thesis begins by locating the historical pre-material and material presences of the Fountain, establishing this contextual consideration as contributory to memory studies. It then surveys the field of theory to build a necessarily flexible conceptual framework for researching the Fountain which, given the movement and sound of water and the coin-throwing ritual, differs from a static monument in its memorial connotations. The interpretations of the illusory Trevi design and its myths are explored before employing a cross-disciplinary approach to the intertextuality of its presences and its performative potential in art, literature, film, music, advertising and on the Internet. The thesis concludes with questions about the digital Trevi and dilution of memory. Gathering strength throughout is the premise of the Fountain as a transcultural vehicle for dominant ideologies ‒ from the papal to commercial, the Grand Tour to cyber tourism ‒ seeking to control remembering and forgetting. Sometimes these are undermined by the social and inventive practices of memory.